The first in-depth biography of the celebrated composer/lyricist who created Hello, Dolly!, Mame, and La Cage aux Folles This revealing and comprehensive book tells the full story of Jerry Herman's life and career, from his early work in cabaret to his recent compositions for stage, screen, and television. Stephen Citron draws on extensive open-ended interviews with Jerry Herman as well as with scores of his theatrical colleagues, collaborators, and close friends. The resulting book-which sheds new light on each of Herman's musicals and their scores-abounds in fascinating anecdotes and behind-the-scenes details about the world of musical theater. Readers will find a sharply drawn portrait of Herman's private life and his creative talents. Citron's insights into Herman's music and lyrics, including voluminous examples from each of his musicals, are as instructive as they are edifying and entertaining.

(Applause Libretto Library). Music by Richard Rodgers Lyrics by Oscar Hammerstein II New book by Douglas Carter Beane Original book by Oscar Hammerstein II In March 2013, a new Rodgers and Hammerstein musical opened on Broadway new to Broadway, but based on a TV musical first written nearly 60 years before, and beloved by audiences all over the world. It was Rodgers + Hammerstein's Cinderella, which very quickly became the belle of the ball of the Broadway season, winning cheers for its fresh take on a timeless classic. Douglas Carter Beane created a new, Tony-nominated book that was hailed for complementing the inspirational themes of Rodgers and Hammerstein with a 21st-century sensibility, giving the musical new characters, surprising plot twists, and revelatory moments that harkened back to the Charles Perrault version of the fairy tale. The score was cheered as well: the familiar songs from the television versions "In My Own Little Corner," "Impossible," "A Lovely Night," "Do I Love You Because You're Beautiful," and so on along with undiscovered gems from the "trunk." Rodgers + Hammerstein's Cinderella was hailed by the Associated Press as a "charming, witty and relevant take on the classic story" and cheered by New York magazine as a "wised-up, wit-spackled CINDERELLA... As solidly entertaining as they come "

Heralded by Tony Bennett as "the Madonna of the 1950s," Rosemary Clooney first came to national prominence when, guided by record producer Mitch Miller, she topped the Hit Parade with songs such as "Come On-a My House" and "Half As Much". Today, the name "Clooney" is synonymous with superstardom, with George Clooney, her nephew, fittingly regarded as one of Hollywood's most notable aristocrats. Few realize, however, that it was originally Rosemary's hit records that brought the surname to achieve worldwide fame and which ultimately landed her a starring role in the immortal "White Christmas", alongside Bing Crosby, Danny Kaye and Vera Ellen. By the time the Sixties arrived however, personal turmoil, fueled by an addiction to prescription medication, almost destroyed her life and her career. Rosemary endured a long period of mental therapy before she was able to resume her singing career in the early 1970s. Few expected her to be anything more than a nostalgia baroness. Rosemary had other ideas. Stimulated by a series of concerts alongside her friend and mentor, Bing Crosby, Rosemary found a new medium in the midst of America's finest jazz musicians, building a second career and with it, a reputation one of - some would say, the - finest interpreter of the Great American Songbook. Late Life Jazz is the story of the rise, fall and rise again of Clooney the First, Aunt Rose, a singer par excellence.

(Applause Books). No American composer has been more widely celebrated, nor so consistently misunderstood as Richard Rodgers. Although he was one of America's most brilliant and prolific composers, whose credits include more than 900 published songs, 40 Broadway musicals and numerous films, Rodgers is widely believed to be the almost stolid opposite of who he really was. Meryle Secrest shows us for the first time his complex nature and the inspiration for his art. Looking intensely at Rodger's unparalleled career, Secrest follows his close and fruitful working relationship with Lorenz Hart, a collaboration that resulted in more than thirty musicals but was ultimately undone by Hart's alcoholism. Moving on to Rodger's second collaborator, Secrest records the triumphs with the gifted and more stable Oscar Hammerstein, including Carousel, South Pacific and The King and I, along with many more. Rodgers' personal life is explored, as well. Secrest writes about the composer's childhood, and how, from an early age, he used music to escape. And she explores Rodgers' own battle with alcohol, as well as the deep tensions in his 49-year marriage to Dorothy Feiner. Somewhere for Me is both a vivid portrait of American musical theatre, and an illuminating examination of one of its greatest artists.

Rida Johnson Young (ca. 1869-1926) was one of the most prolific female playwrights of her time, as well as a lyricist and librettist in the musical theater. She wrote more than thirty full-length plays, operettas, and musical comedies, 500 songs, and four novels, including Naughty Marietta, Lady Luxury, The Red Petticoat, and When Love is Young . Despite her extensive output, no significant study of her work has been produced. This book looks at her musical theater works with in-depth analyses of her librettos and lyrics, as well as her working relationships with other writers, performers, and producers, particularly Lee and J. J. Shubert. Using archival materials such as original typescripts, correspondence, and reviews, the book contextualizes her work in the early twentieth century professional theater and provides a window into the standard practices of writing and production of the era.

(Applause Libretto Library). The libretto to the Tony winning musical featuring a book by Larry Gelbart, music by Cy Coleman, and lyrics by David Zippel. The book also includes an introduction by Larry Gelbart, illustrations by Al Hirschfeld, production photographs, and original costume designs.

The greatest partnership in the history of the musical, captured in print, wonderfully illustrated. For this new edition, the book has been completely rewritten and substantially expanded to include material on Rodgers' early career with Lorenz Hart as well as his later work, and also features recollections from such theatrical titans as Sheldon Harnick, Martin Charnin, Stephen Sondheim and Arthur Laurents. Also, a completely new appendix reveals the details of the continuing worldwide phenomenon of Rodgers and Hammerstein's work up to and including the 2002 centennial year for Rodgers.

The American Song Book, Volume I: The Tin Pan Alley Era is the first in a projected five-volume series of books that will reprint original sheet music, including covers, of songs that constitute the enduring standards of Irving Berlin, Jerome Kern, the Gershwins, and other lyricists and composers of what has been called the "Golden Age" of American popular music. These songs have done what popular songs are not supposed to do-stayed popular. They have been reinterpreted year after year, generation after generation, by jazz artists such as Charlie Parker and Art Tatum, Ella Fitzgerald and Louis Armstrong. In the 1950s, Frank Sinatra began recording albums of these standards and was soon followed by such singers as Tony Bennet, Doris Day, Willie Nelson, and Linda Ronstadt. In more recent years, these songs have been reinterpreted by Rod Stewart, Harry Connick, Jr., Carly Simon, Lady GaGa, K.D. Laing, Paul McCartney, and, most recently, Bob Dylan. As such, these songs constitute the closest thing America has to a repertory of enduring classical music. In addition to reprinting the sheet music for these classic songs, authors Philip Furia and Laurie Patterson place these songs in historical context with essays about the sheet-music publishing industry known as Tin Pan Alley, the emergence of American musical comedy on Broadway, and the "talkie" revolution that made possible the Hollywood musical. The authors also provide biographical sketches of songwriters, performers, and impresarios such as Florenz Ziegfeld. In addition, they analyze the lyrical and musical artistry of each song and relate anecdotes, sometimes amusing, sometimes poignant, about how the songs were created. The American Songbook is a book that can be read for enjoyment on its own or be propped on the piano to be played and sung.

The gruesomely fascinating musical about the 'Demon Barber of Fleet Street', one of Sondheim's greatest hits. From the writing partnership behind A Little Night Music. Victim of a gross injustice that robbed him of his wife and child, Sweeney Todd sets about exacting a terrible revenge on society: slitting the throats of the customers who visit his barbershop. But things are getting complicated - a romance has developed with Mrs Lovett, the lady who runs the pie shop next door, and the disappearances are starting to cause concern. With the bodies piling up, Sweeney Todd hits upon a novel idea, and starts passing on his 'patrons' to his homely neighbour... Meat pie, anyone? Stephen Sondheim and Hugh Wheeler's musical Sweeney Todd opened on Broadway in 1979 and in the West End in 1980. It won the Tony Award for Best Musical and Olivier Award for Best New Musical. It has since had numerous revivals as well as a film adaptation.

There isn't a jollier show anywhere than this musical version of The Pickwick Papers. It exactly catches the cheerful and good-hearted spirit of the gentleman with the bald head and round glasses who is its hero. the well-loved story, the tuneful music and witty lyrics provide a recipe that can't fail to delight audiences. The famous "If I Ruled the World" is just one of a host of strong numbers, and there is plenty of work for chorus and dancers.6 women, 13 men

This critical introduction to British musical theatre since 1950 is the first book to discuss its post-war developments from the perspective of British - as opposed to American - popular culture. The genre is situated within the historical context of post-war British society in order to explore the range of forms through which significant sociocultural moments are represented. Introductory chapters analyse the way British musicals have responded to social change, the forms of popular theatre and music from which they have developed and their originality in elaborating new narrative strategies since the seventies. A key feature of the book is its close readings of twelve key works, from Salad Days (1954) and Oliver! (1960) to global smash hits such as Les Miserables (1985) and The Phantom of the Opera (1986) and beyond, including the latest critical and box-office success Matilda (2011). Also analysed are British favourites (Blood Brothers, 1983), cult shows (The Rocky Horror Show, 1975) and musicals with a pre-existing fan-base, such as Mamma Mia! (1999).

Creating Musical Theatre features interviews with the directors and choreographers that make up today's Broadway elite. From Susan Stroman and Kathleen Marshall to newcomers Andy Blankenbuehler and Christopher Gattelli, this book features twelve creative artists, mostly director/choreographers, many of whom have also crossed over into film and television, opera and ballet. To the researcher, this book will deliver specific information on how these artists work; for the performer, it will serve as insight into exactly what these artists are looking for in the audition process and the rehearsal environment; and for the director/choreographer, this book will serve as an inspiration detailing each artist's pursuit of his or her dream and the path to success, offering new insight and a deeper understanding of Broadway today. Creating Musical Theatre includes a foreword by four-time Tony nominee Kelli O'Hara, one of the most elegant and talented leading ladies gracing the Broadway and concert stage today, as well as interviews with award-winning directors and choreographers, including: Rob Ashford (How to Succeed in Business Without Really Trying); Andy Blankenbuehler (In the Heights); Jeff Calhoun (Newsies); Warren Carlyle (Follies); Christopher Gattelli (Newsies); Kathleen Marshall (Anything Goes); Jerry Mitchell (Legally Blonde); Casey Nicholaw (The Book of Mormon); Randy Skinner (White Christmas); Susan Stroman (The Scottsboro Boys); Sergio Trujillo (Jersey Boys); and Anthony Van Laast (Sister Act).

It would be difficult, indeed, to imagine anyone more qualified to give us a celebration, from the perspective of an insider, of the Broadway musical. From the first run of "Guys and Dolls" in 1950 to the recent debut of "Rent," Stuart Ostrow, a prot DEGREESD'eg DEGREESD'e of the great composer-lyricist Frank Loesser, has been personally involved in many of the major Broadway productions of our time. The steadily growing number of fans of the Great White Way will delight in his reminiscences about the shows that have shaped musical theater, such as "Hello Dolly," "Funny Girl," "Man of LaMancha," "Cabaret," "1776," and "M. Butterfly"--to name just a few.

Readers of "A Producer's Broadway Journey" will certainly be entertained by OstroW's behind-the-scenes anecdotes of Bob Fosse, Barbra Streisand, Betty Buckley, Cole Porter, Lerner and Loewe, Hal Prince, Ethel Merman, and many other legends encountered in his accomplished career. But in addition to the tales or re-writes, stand-ins, near-disasters, and moments of theatrical magic, the author also provides a unique historical perspective on almost half a century of the musical.

This book situates the production of The Boy Friend and the Players' Theatre in the context of a post-war London and reads The Boy Friend, and Wilson's later work, as exercises in contemporary camp. It argues for Wilson as a significant and transitional figure both for musical theatre and for modes of homosexuality in the context of the pre-Wolfenden 1950s. Sandy Wilson's The Boy Friend is one of the most successful British musicals ever written. First produced at the Players' Theatre Club in London in 1953 it transferred to the West End and Broadway, making a star out of Julie Andrews and gave Twiggy a leading role in Ken Russell's 1971 film adaptation. Despite this success, little is known about Wilson, a gay writer working in Britain in the 1950s at a time when homosexuality was illegal. Drawing on original research assembled from the Wilson archives at the Harry Ransom Center, this is the first critical study of Wilson as a key figure of 1950s British theatre. Beginning with the often overlooked context of the Players' Theatre Club through to Wilson's relationship to industry figures such as Binkie Beaumont, Noel Coward and Ivor Novello, this study explores the work in the broader history of Soho gay culture. As well as a critical perspective on The Boy Friend, later works such as Divorce Me, Darling!, The Buccaneer and Valmouth are examined as well as uncompleted musical versions of Pygmalion and Goodbye to Berlin to give a comprehensive and original perspective on one of British theatre's most celebrated yet overlooked talents.

Designed to aid the student, librarian, teacher, or professional singer, this annotated bibliography provides access to more than 500 books, journals, and electronic resources. Included as well are chapters listing dictionaries and encyclopedias for opera and musical theater, biographical sources, guides to vocal literature and repertoire, and resources for vocal pedagogy and for the stage. Equally helpful are sources that list plots and synopses, translations, diction, travel and education.

Providing ready access to a variety of topics and resources necessary for vocal study, this important reference will introduce music students to reliable, essential sources for their study, assist teachers and coaches in finding reference tools, and assist reference librarians in locating sources for patrons. The alphabetical organization within subject makes this reference easy to understand and easy to access. Three indexes allow for convenient cross-referencing.

It is hard to believe that over 25 years have passed since A Chorus Line first electrified a New York audience. The memories of the show's birth in 1975, not to mention those of its 15-year-life and poignant death, remain incandescent - and not just because nothing so exciting has happened to the American musical since. For a generation of theater people and theatergoers, A Chorus Line was and is the touchstone that defines the glittering promise, more often realized in lengend than in reality, of the Broadway way. This impressive book contains the complete book and lyrics of one of the longest running shows in Broadway history with a preface by Samuel Freedman, an introduction by Frank Rich and lots of photos from the stage production.

Now in its 25th year, the Commercial Theater Institute sponsors an annual intensive program in New York for individuals interested in producing or investing in the theatre that attracts people from all over the world. The top working theatre professionals offer hard, factual information to those interested in producing for Broadway, Off-Broadway, Off-Off-Broadway, anywhere in North America, as well as in the United Kingdom. The Commercial Theater Institute Guide to Producing Plays and Musicals now collects for the first time the cream of the crop of that advice, from the noted theatre professionals who participate in the program, in their own words. Interviews, contributions, and a resource directory are included from 30 theatre professionals who have won a total of 45 Tony Awards. Agents, directors, production designers, general managers, fundraisers, marketing directors, producers, and theatrical attorneys all offer invaluable advice in a book that will be the definitive resource in its field.